Our wandering path
Glimpse: The Whitney Plantation – Wallace, Louisiana
Live oaks at the plantation's main entrance, which faced the Mississippi River.
Names on the memorial wall of some of the original slaves from the Senegambia region in Africa.
One of the slave memories on the wall of names.
Statues of children in the plantation's church. The statues are the representation of those interviewed to research the plantation's history who were children at the time they lived there.
Chains used on enslaved people at the Whitney Plantation.
The kitchen at the Whitney Plantation, where female slaves cooked for the owners, but were not allowed to taste the food.
Implements in the kitchen.
Implements in the kitchen.
A pitcher in the kitchen where slave women cooked.
A spider pot, with prongs along the lid to hold coals to keep the contents warm.
A pot sunk into the floor of the main house served as the "refrigerator," keeping foods cool.
Painted walls in the French Creole raised-style main house, considered one of the finest surviving examples in Louisiana.
An "H" for Haydel, the name of the plantation owners, is stamped into the bricks on the fireplace hearth.
A handmade instrument in the main house, where slaves who could play or sing, were summoned after a days work in the fields to entertain the owners and their guests. Eventually, the slaves would hide musical skills.
Slave quarters built of cedar.
Slave quarters.
Pots for boiling sugar, which were made on site.
Bars from a metal jail used to imprison slaves and now on display at the plantation.
Visitors share their reactions to the plantation with sticky notes on a wall in the gift shop shop.
Across the south, there are numerous restored plantations preserving and celebrating the opulent history of excess and privilege of the white owners. The Whitney Plantation is the only one that tells the story from the viewpoint of the enslaved people who worked there. The plantation, which cultivated and processed sugar, is less than an hour from New Orleans on historic River Road in Wallace, Louisiana. Its French Creole raised-style main house built in 1803 is described as one of the finest surviving examples in Louisiana. Many of the original slaves on the plantation came from the Senegambia region of West Africa and are honored on memorial walls. Our guide showed us the slave quarters and described the work of a sugar plantation, a dangerous operation that used sharp machetes to chop the cane and huge pots to boil it down to crystals. Slaves who were cut or burned, which happened frequently, usually would develop infections and die. She described the “punishments” they received for different infractions – whippings, beatings, brandings – which also often caused infection and death. The guide also discussed the shift when the African slave trade was outlawed and owners forced enslaved women to have as many children as possible to replace lost slaves. The plantation, on the National Register of Historic Places, was used for several scenes in the 2012 Quentin Tarantino film Django Unchained. The gift shop has books of slave history and interviews conducted by the Federal Writers Project, a division of the Works Progress Administration, in 1937-40. On a wall, visitors share their reaction to the plantation with sticky notes, including one that recalls a poem by Aeschylus that Robert Kennedy used in his speech announcing the assassination of Martin Luther King:
Even in our sleep, pain which cannot forget
falls drop by drop upon the heart,
until, in our own despair,
against our will,
comes wisdom
through the awful grace of God.
The visitor concludes: WHAT YOU DO HERE IS IMPORTANT, underlining it three times.
Glimpse: Bishop’s Palace, opulence, tragedy
The front door of the Bishop's Palace in Galveston, Texas.
A view of the Palace.
A gargoyle flanking the front entry.
A clock on the marble mantel.
Hand-painted murals in the library.
A glass-front bookcase in the library.
A hanging archway on the second floor.
Detail of a hanging archway on the second floor.
Detail of the stained glass in the bedroom converted to a chapel by Bishop ...
The sunroom, with wicker furniture.
A wrought-iron railing on the porch
Admission stickers from the home on the crosswalk sign at the corner.
Walking into the entryway of the Bishop’s Palace in Galveston, Texas, you can imagine the rustling silks and genteel voices of high society who gathered here in the late-1800s and early 1900s. The home, also known as Gresham’s Castle, for its first owner, is listed in the National Register of Historic Places, and considered one of the most significant Victorian houses in the country.
We took the excellent self-guided audio tour, which gives details of the construction, as well as bits of family detail.
The home was finished in 1892, built for Colonel Walter Gresham, an attorney, Civil War veteran and founder of the Gulf, Colorado and Santa Fe Railroad, his wife, Josephine, and their nine children. Gresham also served in the Texas Legislature. In 1923, the house was sold to the Roman Catholic Diocese of Galveston and was the residence of Bishop Christopher E. Byrne.
Designed by architect Nicholas Clayton, the exterior of the three-story home is sculpted granite, limestone, and sandstone with elements of French Gothic, Romanesque, Tudor, and Classical architecture and a Mansard roof, with turrets and gargoyles. Its cost at the time is estimated at $250,000. In today’s dollars, it’s about $5.5 million.
Two Sienna marble columns flank the entrance hall, which opens to a 40-foot octagonal mahogany staircase, with stained glass on five sides. Fourteen-foot ceilings grace the first floor, which houses the parlor, music room, library, dining room, conservatory, pantry and kitchen.
The second floor houses a living room, bedrooms, and a chapel, created out of one of the Gresham daughter’s bedrooms. It has stained glass windows depicting the four apostles, St. Peter and St. Paul, which were hand-painted in Germany with a single-bristle brush to create the finest detail.
Mrs. Gresham’s art studio and the boys’ bedrooms are on the third floor. Windows and doors throughout the house are designed to open and bring in the Gulf breezes during the warm summers.
Made of steel and stone, it survived the Great Storm of 1900, which killed 8,000 people and destroyed much of Galveston. Mrs. Gresham rode out the storm in the house, helped drag survivors out of the raging waters outside her door, and sheltered hundreds of her neighbors. Afterward, her servants said she was “totally wrecked,” and retreated to New York to recuperate.
Laundry, a lost chihuahua and a doppelganger in Del Rio, Texas
The laundromat in Del Rio, Texas, was the lone business in a shuttered shopping strip, miles from downtown. The good news: It was open until 11 p.m. Little did I know I would meet my doppelganger there.
Guided tours at national parks are a rocking good time
Big Bend National Park, at the northern end of the Chihuahuan Desert, is the largest protected section of the desert in the United States.
The Mule Ears peaks point the way to the spring.
Oxidation on the surface of igneous rock helps to create a signature brown-reddish hue.
Waters from the Rio Grande and Rio Conchos rivers etched the limestone in Santa Elena Canyon during the last 2 million years.
Intrusive magma filled in underground cracks, creating long, straight dikes of igneous rocks, revealed by erosion and seen in the middle of this image.
Tuff Canyon is a misnomer because the smooth, light gray volcanic particles plastered on the eroded river bed are too large to be considered textbook tuff.
Near Goat Mountain, intrusive magma from under the earth’s surface rose and punched up enormous domes,
Our geology guide, Phil.
The breathtaking view from the top of the Lost Mine Trail in the Chisos Mountains.
By Tom Nichols
Last year, Judy and I became very big fans of tours led by rangers and volunteers at America’s national parks and monuments. So before departing Big Bend National Park in west Texas, our first national park of 2016, we couldn’t leave without one more tour, this one on geology.
Big Bend National Park: Two campsites, four hikes and a burro ride
A roadrunner welcomed us to the last site at Cottonwood Campground.
The Mule Ears peaks point the way to the spring.
A hiker climbing the stairs at Santa Elena Canyon.
Marine fossils in Santa Elena Canyon.
Waters from the Rio Grande and Rio Conchos rivers etched the limestone in Santa Elena Canyon during the last 2 million years.
My view on the mile between the ferry crossing in Big Bend National Park and Boquillas, Mexico.
Tom and I in Santa Elena Canyon, Big Bend National Park.
A frog at Mule Ears Spring.
Just one of the 360-degree views from the top of the Lost Mine Trail.
An Acorn Woodpecker along the Lost Mine Trail.
The Window Trail.
A view of the Rio Grande from the roller-coaster drive to Presidio.
Bee and Texas Bluebonnets on the road to Presidio.
Dale, Alice, Annie and Elliot, the coolest family on wheels.
Looking toward the Mexican side of the crossing to Boquillas.
The International Ferry.
The rest of my view.
Our first glimpse of Boquillas.
The parking lot for burros.
A view of the Rio Grande from Jose Falcons.
Edgar's uncle talking about the mining near Boquillas.
The solar plant built for the town.
Some of the houses built by the state to replace those lost in a flood.
Edgar introduces us to some baby burros.
Residents sell embroidered items, walking sticks and figures made of copper wire and beads.
The simple church at Boquillas.
A cowboy in town.
Stairs in the scoured canyon leading along the Window Trail.
Sunset on The Epic Van
As we pulled up to the entrance of Big Bend National Park, the ranger at the gate told us there were only three of 210 camping spots left in the entire 800,000-acre park, and that we’d better hotfoot it over to the Cottonwood Campground to grab one of them. It was 21 miles there by dirt road, and 35 by paved.
“Should we risk the dirt road?” we asked.
She looked at The Epic Van and asked, “Did you rent this?”
Glimpse: Fort Davis – Pride and betrayal for Buffalo Soldiers
A wagon at Fort Davis.
Kareem Abdul-Jabbar in the fort's educational film.
One of the barracks.
Officer's row.
The living room of the commander's home.
The newly restored hospital.
The surgeon's office.
A display in the hospital.
A two-story officer's barracks.
The ruins of the chapel where Lieutenant Henry Flipper was tried.
Fort Davis, in southwest Texas, was established in 1854 to protect travelers and local citizens from Apache and Comanche raids. It became home to four cavalry companies of African-American soldiers who became known as Buffalo Soldiers. It was strategically located at the crossroads of the San Antonio to El Paso road, near the Chihuahuan Trail, used by Indians in the area.
After watching an introductory film narrated by Kareem Abdul-Jabbar in a 10-gallon hat, say whaaaaat???, you can wander the fort to see soldiers’ barracks, the commissary, officers housing and the hospital. Along the way you will hear the bugle calls, for changing of guard duty, sick call, and call to meals.
Exploring the sun: You could put an eye out
Our first live shot of the sun, showing a sun spot on the lower left edge.
A colorful picture of the sun's surface, showing coronal loops and flares.
A detail of the sun's surface, showing tiny gas bubbles the size of Texas and a huge sunspot, with gasses swirling around it because of its magnetic pull.
The solar corona, captured only by blocking out the blinding light of the sun.
A model of the Hobby-Eberly Telescope.
The three story mushroom-shaped building that houses the Hobby-Eberly Telescope, one of the world's largest optical telescopes.
The supporting structure for the 91 hexagonal mirrors in the Hobby-Eberly Telescope.
Most people go to an observatory to see stars at night. Being contrarians, we went to see the sun. During the day.
It seemed kind of silly. I mean, you can look up and see the sun right?
So as we drove up to the McDonald Observatory, near Fort Davis, Texas, we didn’t have high expectations. It was a beautiful ascent, with stunning views over the West Texas mountains, and we figured the drive made the trip worth it.
Then we sat down in the auditorium, and Judy Meyer blew our minds.
Glimpse: The Chihuahuan Desert Nature Center and Botanical Gardens
One of the intrusive volcanic domes visible from Clayton's Overlook at the Chihuahuan Desert Research Institute Nature Center and Botanical Gardens.
Cactus in the Cactus and Succulent Greenhouse at the Chihuahuan Desert Nature Center and Botanical Gardens.
Mitre Peak, named for its resemblance to the hat worn by a bishop, rises 6,190 feet from sea level. It is an intrusive formation of lava that pushed up, but didn't explode out.
Detail of green plant I didn't get the name of.
White fuzzy blossoms in the bee garden.
Bright yellow blossoms on a Soap Bush in the gardens.
A yucca in the gardens.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
Cactus in the Cactus and Succulent Greenhouse.
The Chihuahuan Desert Nature Center and Botanical Gardens outside Fort Davis, Texas, take your mind from miniscule cactus flowers to dozens of varieties of sage, yucca and willow, to broad outlooks over volcanic intrusions. In the hours we spent there, we saw three other guests.
The Center is located on more than 500 acres and has three miles of hiking trails, including a riparian canyon. We started in the gardens, which has more than 165 species native to the Chihuahuan Desert, then found our way to the cactus and succulent greenhouse, with its magical display of more than 150 species, many grown from seed.
We took the mile-long loop to Clayton’s Overlook, where a series of well-designed displays explain the volcanic history of the surrounding mountains. Rather than lava thrown from a volcanic cone, much of the landscape was formed through volcanic intrusion, magma pushing up and under the existing layers, creating mounds that later eroded into magnificent formations.
Marvelous Marfa, where minimalism and abundance dance together
The famous Prada Marfa art installation by artists Elmgreen and Dragset, sits just off U.S. Highway 90 about 26 miles northwest of the city of Marfa. You can see The Epic Van reflected in the window, making our own artistic statement.
The Epic Van, reflected in the Prada Marfa installation.
Vilis Inde, of the Inde/Jacobs Gallery in Marfa, shared an Eastern-European connection with Tom.
One of the amazing pieces of art in the Inde/Jacobs Gallery.
Cactus outside the Exhibitions 2d gallery.
The front of the Exhibitions 2d Gallery.
Marfa Burrito's sign.
A display inside Marfa Burrito.
Marfa Burrito's Primo Burrito, oh my.
Delicious lentil soup generously provided by the wonderful cooks at Marfa Burrito.
A yellow house in Marfa.
One of the contemporary galleries in Marfa.
Beautiful art on the walls.
A Coca-Cola sign on one of Marfa's buildings.
A bison head in the Paisano Hotel, featured in Giant, James Dean's last movie.
A detail of one of the 15 Untitled Works of Concrete by Donald Judd, the star of Marfa.
Part of Donald Judd's 15 Untitled Works of Concrete.
A view of Donald Judd's 15 Untitled Works of Concrete, with yucca.
A view of Marfa's hills, sans ghost lights.
A fence near Marfa.
Marfa, Texas, reportedly named in 1883 by a railroad executive’s wife who was reading Fyodor Dostoyevsky’s The Brothers Karamazov, is a city built on history, art and ghost lights.
Year Two begins: Ruins and reflection
A doorway at Casa Grande Ruins National Monument.
A wall at Casa Grande Ruins National Monument.
Crumbling walls at Casa Grande Ruins National Monument.
Jim and Marilyn Johnson, me and Tom, sharing coffee, memories, and tips for the road.
Graffiti scratched into the walls of Casa Grande Ruins National Monument.
Poet Charles Alexander and BAM, my sister-in-law outside Alexander's reading in Tucson.
Art on the walls of the gallery where the poetry reading was held.
Trains rumbling and whistling by outside the gallery during the poetry reading.
Locomotive No. 1673, built in 1900 by Schenectady Locomotive Works, sits outside Tucson's Southern Arizona Transportation Museum.
Tools of the engineer. The Southern Pacific Railroad arrived in Tucson on March 20, 1880.
The workings of the locomotive, which traveled more than a million miles as a short-run carrier.
A model of the train depot.
The Hotel Congress, built in 1919, was the site of the capture of bank robber John Dillinger in 1934.
The tiled dome of the Pima County Courthouse, where Tom and I both covered stories during graduate school in journalism at the University of Arizona.
A green door on Meyer Avenue.
The La Concina sign at the Old Town Artisans at El Presidio, the fort built by the Spanish in 1775.
A miner's canary cage in a one of the Old Town Artisans shops.
A head sculpted out of metal letters at one of the Tucson Streetcar stops.
Detail of the sculpture.
Tom and I in front of the apartment building on Blacklidge Drive, where we lived in in graduate school.
Tom and my step-brother, Kevin, playing pingpong in Kevin's front yard.
After many weeks at “home” in Scottsdale, nesting in the guest room at my mother’s, we left the driveway on Friday, Feb. 5, for Year Two of our full-timing adventure.
We pointed The Epic Van, our home on wheels, toward Tucson, the first stop on our planned path from the sunbaked Sonoran Desert to the damp sands of South Carolina.
As we rolled south, I read aloud to husband Tom at the wheel: Blue Highways, William Least-Heat Moon’s tale of driving the nation’s back roads. Although Moon was leaving a lost job and failed marriage in the rear-view mirror, and Tom and I are together, having walked away from careers in journalism, Moon’s travels were one of our inspirations to chuck the corporate life and put our faces to the wind.


Nomads and the civilised look at each other with disapproval and misunderstanding. Why would anyone want to wander the wilderness and live in a tent? Why would anyone want to live in a box and obey unnecessary masters?
Ali, Mostly we’ve found people think it’s really cool. Many tell us they dream of being able to wander the world. Are you a nomad?